for soprano saxophone

Note that the ⟨ʀ⟩ in ⟨ʀ⟩ e m o t e indicates that the initial r should be trilled

The character of this work is predicated entirely by its title, an alternation between remote, aloof and distant, and richly emotive musics. Nearly four decades ago my late friend the artist Larry Berryman asked me if I knew of any classical works besides the Nielsen Second Symphony that made use of the ancient notion of the Four Temperaments. I had to admit that I only knew of one (Hindemith). Melancholic was of course a widespread late Renaissance affekt, but sanguine, phlegmatic, and choleric are not frequently encountered in the musical domain. Or, at least, not specifically.

I realised, soon after embarking on ⟨ʀ⟩ e m o t e, that it was a fulfillment of that absence felt by Larry and I so long ago. The work embodies, as part of its emotive component, material intended to represent the Four Temperaments, sometimes isolated, sometimes entwined. The resulting drama, albeit abstract, propels the music, while the ‘remote’ material irregularly freezes its progress. The piece’s form is characterised by alternation between these two states of being. ⟨ʀ⟩ e m o t e was written in August-September 2023 and is in memory of Larry Berryman. It was requested by Thomas Giles who gave the first performance on 5 November 2023.